Glastonbury’s mystery band patchwork was pulp, finally

The worst secret secret of Glestonbury is out. The mystery bands billed as patchwork were actually, pulp. Nevertheless, no one was so until this happened.

“If Robbie Williams comes out? No, I am leaving,” said a woman next to me, because a platform full of random people – General People – Wearing plastic raincoats.

Jarvis Cocker then stroked on the pyramid stage, receiving a hero welcomed as he launched a 1995 album of pulp career from separate class to sort for E and Vis.

“Sorry for those who were expecting patchwork,” he pulled after the song ended. “Do you know that it was we?”

The crowd responded to “yes”, which I can only describe as a collective eye-rol.

“But how?” Cocker deadpand.

In the run-up for the festival, the Sheffield band had tried in vain to keep his identity secret.

Cocker said they would be present only when it was a “life or death status”, while keyboard player Candida Doyle told BBC6 music that the organizers were “not interested in booking”.

Of course, it was all a wide double bluff.

This year is the 30th anniversary of the band’s historic 1995 headline in the pyramid phase – and they are currently enjoying an Renaissance, With a new album called peacock! Toping the chart.

Glastonbury, with a fallow year in 2026, it was now or never.

His set had several new songs, including The Celebrate Spike Island and a gospel-flowers. But everyone was really waiting for a big hit: children, misfit and common people.

As the crowd jumped, the cooker fluttering on the stage like a washing line in a harsh air, its arms flowed and pointed randomly.

And during acrylic afternoon – a hymn for the worldly realities of suburban sex – he walked with the front of the stage, throwing the tea bags to the fans.

Their idiocy also remains intact.

Among the fans of the songs (and pick up videos) in the audience were the organizers of Glastonbury Emily EVIS and former Radio 2DJ Zo Ball, who said that she was experiencing “total enthusiastic recall”.

“Listening to all the songs again, jumping up and down with my old colleagues … I like to stay here with all these people who love them too,” she said.

“It was a real high.”

The 1995 headline slot of the pulp has gone down in history as one of the most memorable and winning sets of Glastonbury – but it was actually a final -minute booking when stone rose guitarist John Square broke his collar bone.

Cocker later revealed “It was the most nervous that I have ever lived in my life”.

“But then Robi who came from Tech and wished us,” he told Vox Magazine.

“Robbie read us some of his poems. I was suspicious at first, because sometimes the poem could be shameful, but it was really good.”

A few weeks after the performance, the demonstration came as to what their signature songs would become.

The chart with anthem was recorded at number two, the band placed it to the very end of its set for maximum impact.

As he introduced the track, Cocker gave a hearty speech about the band’s slow-burn career.

“If you want something enough, it will actually happen – and I believe that,” he said.

“In fact, this is why we are standing at this level today after 15 years, because we wanted it to be, do you know what I mean?

“So if a lanky guit like me can do it, you can also do it.”

And at the same time, he launched a celebration, communal, in the 7-minute Singalong, which confirmed the status of the pulp, which was as the poet award winner of the Britpop.

“This was the event that made success a concrete fact,” Cocker later explained Radio 4’s Desert Island Disc.

The band went to sell more than 10 million records before taking a decade long gap in 2001.

He again visited sporadicly, but “only after receiving a proposal is committed to creating a new record, which we were not sure that we can refuse”.

On stage in Glestonbury, Cocker wishs how he gathered in the “living room in the north of England” to make a decision.

“We had a poor quality acoustic guitar, and the tunes were out of the piano and an African drum, and we attempted to play the song and at the end we somehow decided to tour.”

The song had changed a bit, possibly the most romantic moment of the band, which he played on the same devices, gathered in a circle in the center of the pyramid platform.

Like the rest of the set, it was an emotional gesture, which was immersed in apathy.

They are finished, naturally, with the common people – a red arrow at the climax of the song was extended by flypast. The stunts finally explained why the singer spent most of the set to check his watch.

As soon as he left the stage, Cocker thanked the audience and promised, “I will see you in Arcadia later, okay?”

This is a date.